Acknowledgments
My Faust adventures began years ago, at the outset of my academic career, when I devised a classically comparative literature programme around Goethe’s Faust I, Marlowe’s Doctor Faustus, spiced up with Frank Wedekind’s Franziska, an unexpected (and still underestimated) she-Faust.
Faustian iconography would promptly reveal the impact of Retzsch’s outlines and more visual Faustiana currently object of further or forthcoming publications. Over the years, other figures and programmes claimed attention and elbowed for space, pushing the Doctor aside, yet never for long. Mephistopheles and he (metaphorically jeder Mensch, everyman), kept coming back, puppet-like and sturdy, impudently pointing their noses at inappropriate moments.
This book may never have materialized at Brill without Arjan van Dijk’s enthusiastic response and some strange coincidences. Certainly, due attention could never have been granted, nor the lavish reproductions envisaged, but for three meaningful turns allowing research in Germany and overseas and into special collections: first, a EURIAS fellowship took me to Freiburg’s Institute for Advanced Studies (FRIAS) in 2014–15, close to Faust’s legendary death-stage, Stauffen, in Baden-Württemberg. From Freiburg University’s fortuitous Gasthaus location in Goethestrasse, I made five trips to Weimar (eight in all, to date), one to Frankfurt, and a last to Knittlingen, all remarkably fruitful, and organised an international conference with Reading Books and Prints as Cultural Objects as an outcome. Closely following suit, an Institut Universitaire de France fellowship in 2016–21 gave me time to further delve into barely fathomable Goethe bibliography and return several times to Germany, particularly Dresden, and Marbach’s Deutsches Literatur Archiv; latterly, Beinecke’s Hermann Broch fellowship in 2019 enabled me to pace my work on the rich Goetheana of the Speck Collection. I am very grateful to these institutions for their help, trust, and the many opportunities generously offered. The cost of reproducing images has been covered both by my IUF research endowment and by copyright-holders courteously waiving their rights.
Beyond sponsorship, detail research was furthered thanks to the following custodian institutions’ deposits and the thorough dedication of their staff. I am delighted to acknowledge the help of the following: at Abbotsford Trust, Abbotsford, Claudia Bolling; at the Beinecke Rare Book and Manuscript Library, New Haven, Mary Ellen Budney, Paul Civitelli, Moira Fitzgerald, Anne Marie Menta, John Monahan, Kevin Repp, Natalia Sciarini, Adrienne Leigh Sharpe, all keen to satisfy my numerous requests; at the Berg Collection, New York Public Library, Emma Davidson; at the Blair Museum of Lithophanes, Ohio, Julia LaBay Darrah; at the Bodmer Collection, Geneva, Nicolas Ducimetière, Yoann Givry, and Sonia Manaï; at the British Library, Karen Limper-Herz and Paul Terry; at Columbia University, Rare Book and Manuscript Library, Jane Siegel; at the Deutsches Literatur Archiv, Marbach am Neckar, Helmuth Mojem; at Dr Williams’s Library, London, Jane Giscombe; at the Faust-Museum, Knittlingen, Denise Roth and her collaborators; at the Free Library of Philadelphia, Caitlin Goodman; at the Freies Deutsches Hochstift, Frankfurter Goethe-Museum, Frankfurt am Main, Anne Bohnenkamp-Renken, Sonja Gehrisch, Carina Koch, Joachim Seng, Nina Sonntag, Andreas Wehrheim, and Esther Woldemariam; at the Galerie David d’Angers, Angers, Véronique Boidard and Fabrice Rubiella; at the Goethe- u. Schiller-Archiv, Weimar, Gabriele Klunkert, Johannes Korngiebel, Ariane Ludwig, and their colleagues who promptly pursued queries and answered questions; at the Goethe-Museum, Düsseldorf, Heike Spies; at the Herzogin Anna Amalia Bibliothek, Weimar, custodians and staff who attended requests, reserved a booth and relentlessly convoyed books, prints, and other material; at the Hochschule für Bildende Künste, Dresden, Simone Fugger von dem Rech; at Johns Hopkins University, Milton S. Eisenhower Library, Amy K. Kimball; at the London School of Hygiene & Tropical Medicine, Victoria Cranna and Claire Frankland; at the Médiathèque, Angers, Marc-Édouard Gautier; at the Robert B. Haas Family Arts Library, Yale University, Jen Aloi and staff; at the Sächsische Landes- u. Universitätsbibliothek (SLUB), Dresden, Kerstin Vogl; at Sidney Sussex College, Cambridge, Nicholas Rogers; at the Staatliche Kunstsammlungen Dresden, Kupferstich-Kabinett, Petra Kuhlmann-Hodick and Angela Rietschel; at the Städtische Galerie Dresden, Cornelia Fünfstück, Kristin Gäbler, Carolin Quermann, and Andrea Rudolph; at the Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg, Michaela Völkel and Eva Wollschläger; at the University of Minnesota Libraries, Timothy J. Johnson; at the Vienna Theatre Museum, Rudi Risatti; at the Yale Center for British Art, Elisabeth Fairman, Amelia Giordano, and Francis Lapka; at the Yale University Art Gallery, Suzanne Greenawalt; and at Yale University Library, Genevieve Coyle and Judith Ann Schiff.
I express sincere thanks to collectors Andrew Cook, Detlev Dauer, and Peter-Christian Wegner for having liberally shared their treasures and knowledge, and agreeing to see them reproduced in this book. The present owners of the two later versions of Francesco Hayez’s Il Bacio being unidentified, but the place of these versions in art history being critical to the argument set out here, it is hoped the new insights into Hayez’s inspiration and their origins that this book purveys will amply make up for any omissions.
For permissions to reproduce prints, books, drawings and objects, I am indebted to the Adolf and Luisa Haeuser Foundation, Frankfurt am Main; the Beinecke Rare Book and Manuscript Library, Yale University; the Bibliothèque nationale de France and the Bibliothèque-musée de l’Opéra, Paris; the Blair Museum of Lithophanes, Toledo, Ohio; the Deutsches Literatur Archiv, Marbach; the Faust-Museum, Knittlingen; the Free Library of Philadelphia; the Freies Deutsches Hochstift and Goethe-Museum, Frankfurt; the Harvard Art Museums and Houghton Library, Harvard; the Heidelberg University Library; the Käthe Kollwitz Museum, Cologne; the Klassik Stiftung Weimar; the Kunsthistorisches Museum, Vienna; the Kupferstich-Kabinett, Staatliche Kunstsammlungen Dresden; the London School of Hygiene & Tropical Medicine and Ross family; the Martin Bodmer Foundation, Geneva; Hergé-Tintinimaginatio S.A. for Hergé’s creations; the Museum Georg Schäfer, Schweinfurt; the New York Public Library; the Prussian Palaces and Gardens Foundation Berlin-Brandenburg; the Pinacoteca di Brera, Milan; the Réunion des Musées Nationaux, Paris; the SLUB and the Staatliche Kunstsammlungen, Dresden; the Staatliche Museen zu Berlin; the Städtische Galerie Dresden; the Stiftung Weimarer Klassik, Weimar; and the V&A Theatre Collection, London.
I am particularly indebted to Gudrun Bernhardt for careful manuscript transcriptions; to Andreas Schlüter and his team (HAAB, Weimar), as well as Mary Ellen Budney and the photographic studio at Yale University, for their lavish contribution to this book’s iconography; I am pleased to record the testimony of Sandra Markham re. her ancestor Catharine Potter Stith and the latter’s offspring, and thank both Michael Tichatschke and son Nils Seifert, family proprietors of Retzsch’s vine slopes and house (Retzschgut), for their welcome in Radebeul.
Without the publishing team’s dedication and love for books, this volume would have looked very different. I gratefully acknowledge the guidance of Ivo Romain and particularly my desk editor, Gera van Bedaf, for painstakingly steering this book through realisation. Any oversights remain my own.
My special thanks go to fellow scholars who have generously given of themselves: Paul Aron, Jean-Louis Backès, Andreas Beck, Jens Bergner, Patrick Berthier, Laurel Brake, Matheusz Chmurski, Robyn Creswell, Jean-Charles Geslot, Tom Gretton, Antony Griffiths, Rudolf Henning, Petra Kuhlmann-Hodick, Graham Jefcoate, Edmund M. B. King, Ralf Klausnitzer, Catriona MacLeod, Michel Melot, Helmut Mojem, Jean-Yves Mollier, Élisabeth Parinet, Paola Pallottino, Joëlle Raineau, Viera Rebolledo-Dhuin, Ruth-Ellen Saint-Onge, Bethan Stevens, Jolanta Talbierska, Michael Twyman, Gerd-Helge Vogel, and countless others for information exchanged.
Friendship and affection have escorted me throughout. It is a great pleasure to mention here fellow translator, close friend and aviator Gernot Krämer for discussing nuances and gradations in translation from German into English and for an inspiring flight over Berlin; and my American friends Anna Sigridur Arnar, Ellen Gruber Garvey, and Kristen Ghodsee, for precious guidance in seeking a publisher suitable for this book. Others were good enough to release peer reviews of the manuscript, and I thank all those involved for their constructive comments.
I have been guided in English with extra husbandry and care. Christopher Stead knows better than anybody else what the result would have been without his unflinching dedication and enthusiasm.
Evanghelia Stead
Paris, 4 November 2022, 20 March 2023